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Nanny (2022)

Aisha, a Senegalese immigrant who takes a job as a nanny for a wealthy white family in New York City, finds herself consumed by unsettling visions and a growing rage.

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Peter Debruge 28 Jan 2022

Jusu meticulously calibrates the interactions between her characters, revealing a nuanced understanding of race and class relations.

Margaret Rasberry 28 Jan 2022

Her feature debut nods to Ousmane Sembène’s seminal Black Girl while distilling the trials her parents, immigrants from Sierra Leone, endured as Jusu grew up in Atlanta—a mix of domestic drama and frightening images to make us fellow outsiders in a suffocatingly insular world.

bertobellamy 18 Dec 2022

'Nanny' suffers from the ever-present problem of not knowing what it wants to be. As an immigration drama, the conflict is clear — an African nanny that wants to bring his son from Senegal to live with her — but the need to tackle another genre distracts you from it; as a horror film, the supernatural elements feel somewhat random. Yes, African folklore plays a part in it, but its relationship with the protagonist is never clear beyond the obvious. First-time director Nikyatu Jusu also touches on how white people exoticize black culture — as in 'Get Out — and that, for me, is the most appealing part of the movie, but the theme is quickly forgotten. Fortunately, Anna Diop, as the nanny, makes you care about Aisha and her struggle. If only the script had been better.

Robert Abele 23 Nov 2022

In her elegantly unsettling portrait of an invisible woman straddling two notions of home — far from what she’s known, working inside a perilous system — Jusu is letting us know she’s got all diasporic women employed by wealthy families on her mind. And that their fears can easily become nightmares.

Shania Russell 29 Jan 2022

Armed with mythology and its evocative atmosphere, Nikyatu Jusu's directorial debut revels in slow-simmering horror, haunting with its shadows.